Pretty but Boring
Welcome to the Concretes' debut album - surprisingly titled as the Concretes - forty minutes of self-proclaimed anti-rock that certainly isn't the most traditional rock you'll find on CD shelves today, as the infinitely-numbered members of the band produce new instrument after new instrument, constantly adding to the already vast multitude of layers within each song. They claim to not be rock music, which is certainly true to an extent - how many "true" rock bands feature glockenspiels as the main focal point of a song, after all? You can, however, still see the old alternative/indie rock influences that have been imprinted into the musicians' minds.
The songs, with lyrics written by the Swedish Victoria Bergsman, all plod along at a seriously slow rate, with clean guitar riffs (if there is any guitar work at all, of course), mixed in with, as mentioned, a plethora of instruments which churn out rather poppy melodies. The back of the CD cover mentions, if I can count correctly, eight "Concretes", but the back also points out "Honorary Concretes", which number at least thirteen people. Eight people alone must be trouble enough to take on tour, but imagine trying to lug over twenty people around the world, now that the Concretes have gained some success in their native Sweden and are now trying to "break" the world.
The first song on the album, "Say Something New", also comes from their original EP that was released in the UK, which was called, wait for it, "Say Something New EP". Just because you're from Sweden doesn't mean your English is so bad that you can't even be slightly original in your titles. A clean guitar riff opens up this song, followed by some Egyptian-style organing, which soon gives way to the slightly unenthusiastic singing of Victoria Bergsman. As she nonchalantly puffs out her lyrics, the song slowly builds up around her, adding in wave after wave of new instrument, whether it be saxophone, Hammond organ, or even what sounds like some kind of gazoo.
There's even more organ playing to be found on the Concretes' single track, "You Can't Hurry Love", coupled with backing vocals, a horn solo, and slightly more enthusiastic singing this time from Bergsman. "Chico" follows next, sounding like a classic pop ballad from yesteryear, and featuring piano, glockenspiel and more melancholy vocals. The next song, "New Friend" starts with the beating of an opened snare drum, which then has a few guitar and bass parts woven lovingly around it. The wonderfully-titled "Diana Ross" follows, with a commanding drum part and a never ending supply of guitar bends, seasoned with a dash of horn improvisation. All the songs on this album are really slow, sure, but it can't be denied that they aren't pretty, and they all certainly show a heavy focus on layered sounds, songs packed to the rafters with things to think about.
"Warm Night" sounds like one of those Country and Western songs my dad used to listen to in the car as he drove around the Scottish outback, hopefully conscious that his car wasn't a white stallion racing along at 50mph. Thankfully, however, the song does modulate into a more pleasurable sound later on, with a soothing vocal chant lying on a bed of violins, tremoloed mandolins and the driving power of the drums. Victoria Bergsman seems to lose all use of her face muscles in the next song, "Foreign Country" - mixing a repetitively annoying piano part with her lazy, almost childish singing, and producing what could have been a beautiful stripped down ballad, instead giving us a pile of dirge. The album goes into what must be its fastest song next, "Seems Fine", which has little fanfares that herald the best song on the album, even if it does only clock in at just over two minutes in length.
The album jumps back into that Country and Western style for "Lovin' Kind", with lengthy organ chords, a quiet bluesy guitar opening and the usual amount of dull singing and tempo. "Lonely As Can Be" sounds like everything else on the album, with an opening horn part followed by the boring singing of Victoria, which is almost becoming characteristic of her. The closing song, "This One's For You", returns to some of the splendour of the first songs on this album, such as "Say Something New". An echoy guitar riff is swamped by mellow organ playing and luscious harps. Although Victoria stops singing after about 3 minutes, the song goes on for an extra two, packaging the beauty of the song in a lovely position, allowing the listener to quietly reflect on the album.
So, if you're not really in the mood for music to feasibly dance to, or feel any kind of adrenaline-related emotions or express any feelings except quiet enjoyment, and you just want to chill out and relax whilst you sleep/wait for death, then give The Concretes a whirl.